Toquay's Princess Gardens, a formal Victorian seaside gem, has stood the test of time since its creation in the 1890s. Nestled on the seafront, this picturesque haven boasts vibrant flower beds, a beautiful fountain, and sprawling lawns that overlooking breath-taking views of the bay, Pier, and harbour. Torquay, once a modest seaside town, rose to prominence as a fashionable resort in the late 18th century when the Napoleonic Wars disrupted continental travel. By the 1870s, the growing influx of visitors necessitated the development of additional amenities. After a couple of failed schemes, the town decided to construct a pier and public gardens to enhance the visitor experience. Princess Gardens, named after Princess Louise, the daughter of Queen Victoria, emerged on reclaimed land alongside Princess Parade, complementing the terraced cliff walks of the Royal Terrace Gardens. The layout of Princess Gardens has remained largely unchanged since its heyday. Following a fleur-de-lis design, the flower beds and signature Torbay palms, known as Cordyline, lend a historic charm to the landscape. One of the highlights of the gardens is the magnificent three-tier cast iron fountain, a Grade II-listed structure. Painstakingly restored and repainted in 2018, the fountain now stands as a testament to the garden's enduring heritage. Princess Gardens has not only captured the hearts of locals and visitors but has also found its way into literature. The gardens feature prominently in Agatha Christie's beloved mystery novel, "The ABC Murders" (1936). Today, the gardens are part of both the Agatha Christie Mile and the Agatha Christie Literary Trail, offering fans of the iconic author a chance to immerse themselves in the world of her captivating stories. Spanning approximately 5 hectares, Princess Gardens is divided into three areas. To the southeast, the gardens extend to the New Harbour, while to the east, the early 20th-century Pavilion marks the boundary. The gardens stretch westward, separated from the promenade gardens by the magnificent Princess Theatre. The Royal Terrace Gardens lie adjacent to Princess Gardens, providing a seamless connection between these enchanting green spaces. As visitors step into Princess Gardens, they are greeted by an expansive triangular area adorned with lush lawns and curvilinear tarmac walks. To the west of the Pavilion, an elliptical-shaped lawn boasts majestic Torbay palms and meticulously designed flower beds. A sunken elliptical lawn, located a short distance away, serves as the focal point for a splendid three-tier cast iron fountain, surrounded by segmental-shaped flower beds. Various shelters throughout the gardens offer a perfect spot for visitors to relax and soak in the surroundings. Designed by the Borough Engineer and Surveyor, Major Garrett, Princess Gardens underwent construction between 1892 and 1894. Today, the original path patterns and layout remain remarkably intact, providing a glimpse into the garden's past splendour. Adjacent to Princess Gardens, Torbay Road is lined with mature London plane trees on its northern side, while Princess Parade, a wide paved promenade, runs parallel to the gardens on the southern side. A circular sunken green interrupts the line of Princess Parade, forming a semi-circular bastion overlooking the New Harbour that is now used for the hosting of events and markets. With its rich Victorian heritage and pleasant atmosphere merging seamlessly with breath-taking views of Tor Bay, Princess Gardens is a glimpse into an oft forgotten past of pleasure and grandeur. Thanks to the dedication of locals, this enchanting seaside retreat continues to captivate visitors and offers a tranquil oasis amidst the bustling resort town. As you stroll through the flower beds, breathe in the scents of a bygone era, and soak in the panoramic views, Princess Gardens will transport you to a time of elegance and charm. Through the Eyes of an Artist It is easy to see why this seaside sanctuary became a focus for much of Martin Dutton's Torquay series. Surrounded by beautiful architecture, verdant planting and luminous sea views, the bustle of gentle promenaders offered scenes tantalisingly full of life. "Lockdown was a difficult and sometimes disastrous period for everyone. But for me it did have an unexpected positive outcome. As a practicing painter my annual routine included a period of painting in Europe. The exotic lavender fields of Provence, the acres of golden sunflowers and vine field patterns of the Dordogne bathed in sunlight were rewarding places to paint in situ. However, these activities were brought to a standstill when lockdown anchored us all to our own homes and local environments. But for me, this was not a negative situation as it encouraged me to look for painting subject matter in my local area and I “discovered” the town that had been my backyard for over twenty years - Torquay!" "We’ve had glorious Summer weather during the lockdown years which has provided the in situ artist with the equivalent periods of dry, warm painting time as can be relied upon in places like Southern France and Spain. I suppose it was because of the unreliability of the English weather coupled with my enthusiasm for painting outdoors in sun drenched unexplored landscapes that I hadn’t considered developing a prolonged painting project in my local area. But when I started to do small in situ paintings in Torquay I realised that here was a place full of visual delight and positive human activity that offered endless painterly opportunities." "When I begin a new painting theme the first paintings are always directly topographical and realistic, setting down what I see in front of me in order to get to know my subject." "This representational approach will then develop into a more intuitively expressive response as the subject begins to reveal itself to me. This exhibition represents my journey so far in my exploration of a fascinating seaside town." You can discover Martin's work at Artizan Collective Gallery until June 25th. For more information, visit www.art-hub.co.uk/ex/md23 #MartinDutton #DevonArt #DevonArtist #AbstractArt #CelebrationOfTorquay #PrincessGardens #md23

Undoubtedly Torquay owes much of its charm to the array of architectural gems that bear witness to its rich history and cultural heritage. Among these treasures stands the magnificent Mallock Memorial Clock Tower, a Grade II listed building that has adorned the harbourside since its completion in 1902. Situated at the junctions of the Strand, Torwood Street, and Victoria Parade, adjacent to Torquay Harbour, the Mallock Memorial Clock Tower occupies a prime position within the town's bustling heart. Crafted with meticulous attention to detail, the tower is a splendid example of Gothic architecture, constructed using sandstone and local limestone. Its triangular shape, embellished with flying buttresses and traceried panels on each face, commands attention and exudes a sense of grandeur. The clock tower with its three faces, positioned to face each of the three approaching streets, offering passers-by a glimpse into the inexorable passage of time. Designed by the esteemed local architect John Donkin, the tower stands as a testament to the contributions and legacy of Richard Mallock, a prominent figure in Torquay. Mallock, who owned the nearby Cockington estate and served as a Member of Parliament for Torquay, met an untimely demise while on vacation in Scotland in 1900. The clock tower was erected in his memory through public subscriptions, symbolizing the profound impact he had on the community. The craftsmanship displayed in the construction of the Mallock Memorial Clock Tower is a testament to the skill and artistry of the era. The sculpting work was entrusted to Harry Hems & Sons of Exeter, who painstakingly crafted the intricate details that grace the tower. The contractor responsible for its construction was EP Bovey, a local Torquay firm. Together, these artisans brought to life Donkin's vision, resulting in an architectural marvel that has stood the test of time Over the years, the clock tower has become an iconic symbol of Torquay, featuring prominently in postcards and photographs of the town. However, like many historic structures, the passage of time had taken its toll on the tower, and by 2010, it was in need of restoration. Thankfully, a £65,000 grant from the National Lottery Heritage Fund, combined with £30,000 from Torbay Council, provided the necessary funding for the much-needed refurbishment. During the restoration process, a remarkable discovery was made—the original bell, which had not rung since the outset of the Second World War, was found carefully wrapped at the top of the tower. This unexpected revelation evoked a sense of nostalgia and added to the tower's historical significance. The bell was subsequently reinstalled, allowing its melodious chimes to resonate once more, heralding the passage of time and serving as a reminder of the tower's enduring legacy. The Mallock Memorial Clock Tower owes much of its smooth operation to the dedication of a remarkable local resident, Keith Fursdon. Since 1963, Keith has diligently wound the clock mechanism on a weekly basis, ensuring its reliable functioning and preserving the tower's historical charm. In 2013, in recognition of his unwavering commitment, the council presented Keith with a certificate honouring his invaluable service. Even at 75 years of age, Keith's passion for the clock tower remained undiminished, and he expressed his intention to continue this task until 2025, when he would reach the age of 80. Sadly though, Keith passed away before reaching this goal, remembered and recognised for his community spirit and contribution to town. As the Mallock Memorial Clock Tower stands tall, it serves as a physical reminder of Richard Mallock's contributions to the town and pays homage to Torquay's rich history. With its intricate design, Gothic-inspired architecture, and the restored bell that resonates once more, this iconic landmark will continue to captivate the hearts and minds of all who encounter it. The Mallock Memorial Clock Tower stands as a timeless testament to the past, present, and future of Torquay, inviting visitors to reflect on the significance of time and the enduring legacy of those who came before us. Painting the Passing of Time Captured by artist Martin Dutton, the towering memorial is depicted in changing light across these three works, the clock face marking each moment as the Gothic design casts sharp shadows. You can discover Martin's work at Artizan Collective Gallery until June 25th. For more information, visit www.art-hub.co.uk/ex/md23 #MartinDutton #DevonArt #DevonArtist #AbstractArt #CelebrationOfTorquay #MallockMemorialClockTower #RichardMallock #md23

Nestled along the picturesque Torquay seafront, the Torquay Pavilion stands as a testament to a bygone era of artistic grandeur. This Grade II listed building, with its exquisite Art Nouveau architecture and iconic copper-covered dome crowned by a majestic figure of Britannia, has witnessed over a century of captivating performances and leisurely pursuits. From its illustrious opening night in 1912 to its recent closure and ongoing restoration efforts, the Pavilion remains a cherished icon in the history of Torquay. The Pavilion made its grand debut on a splendid summer evening, Saturday, August 17, 1912, under the auspices of Mayor Charles Towell. The night was an affair of unparalleled grandeur, highlighted by a splendid performance from the esteemed Torquay Municipal orchestra. With its lounges, cafe, and panelled oak interiors, the Pavilion swiftly captured the hearts of locals and visitors alike, establishing itself as one of Torquay's premier entertainment destinations. The true zenith of the Pavilion's glory arrived in the vibrant decades of the 1920s and 1930s. During this extraordinary period, illustrious luminaries graced the stage, including the esteemed composer Sir Edward Elgar, the virtuoso pianist Rachmaninoff, and the enchanting ballerina Anna Pavlova. The Pavilion's hallowed halls echoed with the resplendent voices of operatic soprano Dame Nellie Melba and the charismatic entertainer George Formby. It was during this golden age that the Pavilion earned its well-deserved reputation as "Torquay's Palace of Pleasure." The indelible mark left by Ernest Goss, the Pavilion's music director from 1919 to 1953 and entertainments manager from 1926 to 1948, cannot be overstated. Goss orchestrated exceptional film screenings, curated productions by renowned theatrical companies, and showcased performances by internationally acclaimed artists. His musical prowess extended across symphony concerts, grand operas, variety shows, and pantomimes, cementing his name as a visionary impresario. As the 1950s dawned, the Pavilion experienced a gradual decline. The orchestra disbanded in 1953, and the financial struggles of the building became apparent. In 1976, the Pavilion reluctantly closed its doors. However, a dedicated campaign by the Friends of the Pavilion (now known as the Torbay Civic Society) heralded a turning point. The building's architectural and historical significance was recognized with a listing in 1973. A revival ensued, with the Pavilion transformed into an ice-skating rink from 1979 to 1983. Following an award-winning restoration, the building reopened as an upscale shopping mall in 1987. Having closed in 2013 as traders vacated with proposed development on the horizon, today, the future of the Torquay Pavilion remains uncertain. Locally, plans and proposals are frequently hotly contested with the Pavilion's rich heritage and enduring allure earning it a place in the hearts of residents and visitors alike. The Torquay Pavilion stands as an architectural gem and a testament to the vibrant cultural history of Torquay. Its walls have resonated with the melodies of music maestros, witnessed the awe-inspiring performances of renowned artists, and provided a haven of entertainment for countless visitors. As restoration efforts continue to be controversial, the Pavilion awaits a new chapter, holding within it the promise of continued cultural significance for generations to come. At Rest in Works of Martin Dutton As Torquay Pavilion sleeps, life goes on around it whether that be in the bustling marina or the thriving Princess Gardens. Perhaps few pay much regard to its closed doors and boarded windows, but its peaceful grandeur appealed to South West Academician Martin Dutton, who in the post lockdown period captured the building extensively in a series of Torbay works. You can discover Martin's work at Artizan Collective Gallery until June 25th. For more information, visit www.art-hub.co.uk/ex/md23 #MartinDutton #DevonArt #DevonArtist #AbstractArt #CelebrationOfTorquay #TorquayPavilion #md23

Witnessed Through the Works of Artist Martin Dutton The focal point of South Devon's premier resort town, Torquay Harbour stands as an emblem of both historical significance and natural beauty. Surrounded by a vibrant and cosmopolitan townscape, and looking out onto the serene calm of the enclosed Tor Bay, this historic harbour has deep-rooted origins dating back to the 13th century when the town and its small population would have been largely dependent on agriculture and fishing. Torquay owes much of its initial development to Sir Lawrence Palk, 2nd Baronet, who recognized the potential of the area. In the late 18th century, Torbay's sheltered anchorage served as a haven for the Channel Fleet, protecting England from potential invasion by Napoleon Bonaparte. Wives and relatives of officers often flocked to Torquay, seeking proximity to their loved ones. Sir Lawrence Palk played a pivotal role by investing in the construction of a new harbour in 1803, replacing the dilapidated old one. The project, designed by John Rennie, commenced Torquay's transformation into a thriving town. Torquay's reputation as a health resort began to take hold in the early 19th century. Visitors seeking respite from illness were drawn to the town's mild climate and fresh air. The arrival of the railway in 1848 further facilitated Torquay's growth, connecting it to the rest of the country for the first time. The population soared, and Torquay earned the monikers "The Queen of Watering Places" and "The Montpellier of England." The town's second hotel, the precursor to the present-day Queen's Hotel, opened in 1822, marking the beginning of Torquay's transition into a fashionable holiday destination. During the late 19th century, Torquay's popularity soared among Europe's elite. Notable figures such as Emperor Napoleon III of France and the Russian Romanoff noble family visited Torquay, constructing grand holiday homes and enjoying the town's splendours. The presence of esteemed guests, including the Prince of Wales and Benjamin Disraeli, elevated Torquay's reputation further. The Imperial Hotel served as a favoured accommodation for these dignitaries. Torquay's golden age cemented its status as a prestigious resort town. The introduction of railways in the mid-19th century transformed Torquay's fortunes. The town experienced significant growth, attracting tourists and wealthy residents. However, as the upper classes began seeking holidays abroad, growth slowed in the 1870s and 1880s. St. Marychurch and Cockington absorbed the overflow, evolving into thriving suburbs. Nevertheless, Lawrence Palk, 1st Baron Haldon, commissioned the construction of another harbour in 1870, making Torquay popular among yacht sailors. The harbour played a vital role in importing coal and wool from Australia, further bolstering the town's prosperity. The early 20th century witnessed Torquay's transformation into a family-oriented summer holiday resort. Advertising campaigns were launched to attract healthy visitors from the industrial Midlands and northern England. Torquay's rail traffic increased steadily until the outbreak of World War I. The war brought significant changes, with volunteers enlisting for military service and the establishment of the Red Cross Hospital in the Town Hall. Torquay Harbour Today Torquay Harbour now stands as a testament to the enduring allure of coastal towns. Throughout its history, the harbour has been a focal point for sailors, health seekers, and holidaymakers, contributing to the town's growth and reputation as a desirable destination. Whether as a strategic naval anchorage or a fashionable health resort and a playground for the wealthy, Torquay Harbour has played a vital role in shaping the town's identity. Today, it continues to entice visitors with its scenic beauty and vibrant atmosphere. The harbour area is a hub of activity, offering a range of amenities and attractions. Visitors can stroll along the promenade, enjoy the picturesque views of the bay, and indulge in a variety of watersports and boat trips. The bustling marina hosts numerous yachts and boats, adding to the nautical charm of the area. Its historical significance remains evident in the well-preserved architecture that lines its shores. The grand Victorian buildings, elegant hotels, and charming cottages evoke a sense of nostalgia, transporting visitors back to the town's heyday. Exploring the harbour’s surroundings, such as the nearby Cockington Village with its thatched cottages and the beautiful Torre Abbey Gardens, provides glimpses into Torquay's rich past. A Celebration of Torquay, Works of Martin Dutton "Lockdown was a difficult and sometimes disastrous period for everyone. But for me it did have an unexpected positive outcome. As a practicing painter my annual routine included a period of painting in Europe. The exotic lavender fields of Provence, the acres of golden sunflowers and vine field patterns of the Dordogne bathed in sunlight were rewarding places to paint in situ. However, these activities were brought to a standstill when lockdown anchored us all to our own homes and local environments. But for me, this was not a negative situation as it encouraged me to look for painting subject matter in my local area and I “discovered” the town that had been my backyard for over twenty years - Torquay!" "We’ve had glorious Summer weather during the lockdown years which has provided the in situ artist with the equivalent periods of dry, warm painting time as can be relied upon in places like Southern France and Spain. I suppose it was because of the unreliability of the English weather coupled with my enthusiasm for painting outdoors in sun drenched unexplored landscapes that I hadn’t considered developing a prolonged painting project in my local area. But when I started to do small in situ paintings in Torquay I realised that here was a place full of visual delight and positive human activity that offered endless painterly opportunities." "When I begin a new painting theme the first paintings are always directly topographical and realistic, setting down what I see in front of me in order to get to know my subject." "This representational approach will then develop into a more intuitively expressive response as the subject begins to reveal itself to me. This exhibition represents my journey so far in my exploration of a fascinating seaside town." You can discover Martin's work at Artizan Collective Gallery until June 25th. For more information, visit www.art-hub.co.uk/ex/md23 #MartinDutton #DevonArt #DevonArtist #AbstractArt #CelebrationOfTorquay #TorquayHarbour #md23

Nestled inland from the towns bustling seafront, Cockington Village enchants visitors with its rich historical tapestry and idyllic charm. Steeped in centuries-old traditions and boasting a Saxon heritage dating back to the 8th century, this village has witnessed the rise and fall of noble families, endured confiscations and restorations, and evolved into a model village that captivates the imagination. From its medieval manor house to its ancient church and picturesque gardens, Cockington Village invites exploration and promises a journey through time. Cockington's Illustrious Past Cockington Village traces its origins to a Saxon settlement established in the 8th century, a testament to its enduring heritage. However, it was first documented as Cochintone in the Domesday Book of 1085, under the ownership of William de Falaise, a prominent figure as a tenant-in-chief to William the Conqueror. De Falaise held not only Cockington but also sixteen other manors in Devon, including the charming hamlet of Holne on Dartmoor. Throughout its history, Cockington Village witnessed the rise and fall of influential families who held the reins of power and the fate of the village itself. From the Fitzmartins in the 12th to the 14th century, to the Carys from the 14th to the 17th century, and finally the Mallock family from the 17th to the early 20th century, these families left their indelible marks on the village's destiny. The fortunes of these eminent families ebbed and flowed, influenced by their loyalty to the reigning monarchs and their involvement in the turbulent events of English history. Cockington Court: From Manor House to Model Village The focal point of Cockington Village is the picturesque Cockington Court, a manor house that witnessed centuries of history and transformations. Built in its current form in 1679 by Rawlyn Mallock, it was later modified by Roger Mallock in the early 19th century to adapt to changing times and reduce tax liabilities. Over the years, Cockington Court served various purposes, from housing Lord Rothermere's art collection to becoming an ice cream factory and a home for the Parks department. However, in the 1990s, it underwent extensive renovations and emerged as a craft centre, showcasing the talents of rural artisans. Architectural Treasures and Natural Delights Today, walking through Cockington Village feels like stepping into a bygone era. The heart of the village is adorned with thatched cottages that exude rustic charm. Among the most photographed properties are The Forge, a picturesque thatched building that incorporates remnants dating back to the 14th century, The Mill, a captivating cottage with a restored waterwheel from 1878, and Weavers Cottage, a delightful tearoom where visitors can enjoy a traditional Devon cream tea in a serene walled courtyard garden. Venturing further, Cockington Country Park welcomes visitors with open arms. The park encompasses Cockington Court, now a tearoom and crafts centre, and the ancient St. George and St. Mary's Church. Exploring the park reveals a network of paths and bridleways that lead through fern-laden paths, formal parkland, and three ornamental ponds known as Cockington Lakes. These ponds, believed to date back to the 12th century, were originally created to supply trout and carp to the nearby Torre Abbey's monks. Preserving the Legacy Cockington Village's unique charm and historical significance have been recognized and preserved by various organizations. The village and Cockington Court are now managed by the Torbay Coast and Countryside Trust, ensuring that the heritage and natural beauty of this idyllic setting are protected for generations to come. The village's sites are also a frequent subject for plein air painters and in this way too, Cockington's beauty is held in the record of contemporary artworks. In this scene by Martin Dutton, the centre of the village is captured, four of its untouched thatched buildings, a beautiful rural picture that stands in stark contrast to the grandeur of the manor just a short walk away. Today Cockington is a testament to the enduring spirit of a bygone era with its rich history, architectural treasures, and natural delights, it captures the imagination of visitors and offers a tranquil escape from the hustle and bustle of modern life. Whether exploring the medieval manor house, meandering through thatched cottages, or immersing oneself in the beauty of Cockington Country Park, a visit to this enchanting village promises a journey through time and a chance to experience the serenity of rural England. You can discover Martin's work at Artizan Collective Gallery until June 25th. For more information, visit www.art-hub.co.uk/ex/md23 #MartinDutton #DevonArt #DevonArtist #AbstractArt #CelebrationOfTorquay #CockingtonVillage #md23

Hastings, located on the picturesque East Sussex coast of England, has a long-standing connection with the sea. While its maritime history does not date back to Roman times, it gained prominence during the Saxon period, firmly establishing itself as one of the country's important port towns. Over the centuries, Hastings thrived as a member of the Cinque Ports, making significant contributions to both the local economy and the nation's fishing industry. The precise location of the early Saxon harbour remains a mystery, as historical records from that era offer little insight. However, evidence suggests that the harbour might have been situated in an inlet protected by a shingle spit, similar to the formation of other nearby ports such as Shoreham and Winchelsea. It is believed that the allure of a sheltered bay or lagoon at the mouth of the Old Roar Stream in Priory Valley initially attracted the Saxons to the area. Unfortunately, the build-up of silts from the stream gradually transformed the harbour into a marsh-like environment, rendering it virtually unusable. This reclaimed land, later known as the America Ground, became an integral part of the present-day New Town. In the 16th century, Hastings made attempts to build a functioning harbour. Remains of the old 16th-century harbour wall, buried beneath the current stade, are the oldest known structures of this kind in Sussex. Records indicate the existence of a wooden pier in 1546, followed by the commissioning of a stone wall for the stade in 1561. However, it is unclear whether this construction was successful, as historical records do not provide conclusive evidence. In 1562, Rye, considered the region's principal port at the time, initiated efforts to construct a protective pier or breakwater in Hastings. Despite enlisting the support of influential figures such as the Lord Warden of the Cinque Ports, William Brooke, immediate progress was elusive. It was not until October 1578 that Queen Elizabeth I acknowledged the importance of Hastings as a strategic military and fishing town. The loss of the pier had caused significant decay, leading to a decline in maritime trade and fishing activities. Consequently, the Queen granted £4000, a substantial sum for that era, for the construction of a suitable harbour. Unfortunately, misappropriation of funds hindered progress, and work ceased until March 1595 when assistance from men in Lyme Regis was sought to repair the pier. The construction of the pier, primarily made of stone, faced numerous challenges. The first winter storm resulted in its break-up, as the absence of a timber brace proved detrimental. Subsequent attempts to rebuild the pier continued in 1596, this time incorporating the remains of an earlier structure. By November 1597, a pier measuring around 100 feet in length and 30 feet in height stood tall. However, its brief existence came to a swift end when a severe storm destroyed it within an hour. Throughout the 17th century, Hastings made sporadic efforts to repair and improve the pier. The entire town was called upon to contribute financially, and those who failed to do so were fined. Despite the efforts to raise funds, the financial situation remained challenging, leading to a doubling of the catch allowance for the fishing fleet in 1617, with a portion of the increase allocated for the pier's repair. Additionally, a tax of 12 pence was imposed on every tun of beer, with half of the revenue directed towards the pier. However, the work on the harbour was sporadic and eventually came to a halt in 1621. In 1635, the town made its last attempt during this period to create a decent harbour. Henrich Cranhalls, a renowned Dutch engineer, was brought in to determine the location and method of construction. Instead of focusing on the stade, Cranhalls proposed building a safe haven at the site of the former Saxon port in Priory Valley. His ambitious plan aimed to accommodate ships of 400 tons or more and provide shelter for 200 or more vessels. However, the estimated cost of £220,000 (equivalent to approximately £19 million today) presented a significant hurdle. In 1636, King Charles I was petitioned for the necessary funding, and while promises of assistance were made, the provision of funds was generally lacking. In 1656, a winter storm washed away the remaining structures of the Elizabethan harbour wall, bringing all work to a halt. After nearly a century of efforts, the town's attempts to construct a functional harbour had been in vain. Following the unsuccessful endeavours of the previous century, there was a prolonged period of inactivity regarding the development of a harbour. Fishing vessels were brought ashore, and the stade received some protection from the remnants of the Elizabethan harbour. In 1806, as the town grew in prosperity and size, Sir John Rennie, a renowned engineer responsible for notable projects such as the original Southwark and Waterloo Bridges, proposed the construction of a harbour to the west of the Priory Stream. Unfortunately, no detailed plans have survived, and it is believed that the cost and ambitious nature of the project prevented its realization. Nonetheless, the need for an improved harbour was evident, as larger ships began arriving in Hastings in the 1800s, carrying goods such as The Roanoke, bound for Antwerp from New York, which was recorded as having discharged at Hastings Harbour in 1829. Rennie's plan was reconsidered in 1834 but was once again deemed too expensive. As a result, a smaller 12-acre harbour was proposed, with an estimated cost of around £100,000. However, even this scaled-down project was ultimately shelved. Various other harbour designs were considered, but it was not until 1896 that a plan, which had been developed years earlier, finally saw some progress. The harbour, designed by Alfred Carey, was intended to cover 24 acres and feature landing stages, wharves, and jetties. The harbour wall was positioned to the east of the remains of the Elizabethan structures. The inshore section of the harbour was constructed using open wooden staging to allow shingle to pass through. The design also incorporated the Rock-a-Nore groyne, a 76-meter long structure built to prevent the eastward movement of shingle and the erosion of the stade. The failure to construct suitable groynes to the east of the Old Town had raised concerns among the local population, who suspected that the council's reluctance was driven by a desire to see the fishing industry relocate to Rye. However, after public pressure and severe storms in 1884, the council finally constructed the Rock-a-Nore groyne. This groyne would later be extended to form the eastern end of the harbour, as per Carey's design. Despite initial progress, construction difficulties and insufficient funds led to a halt in the harbour project at the end of 1897, with the eastern harbour arm measuring 371 meters in length. Over the next 100 years, shingle accumulated against the incomplete harbour wall and the Rock-a-Nore groyne, resulting in the expansion of the stade toward the sea. By 1930, the low water mark had shifted 112 meters further out compared to 1908. The remains of the Elizabethan harbour became buried, and the entire wooden portion of the harbour arm, measuring 145 meters, was covered by shingle. By 1955, Hastings Council no longer viewed the structure as a harbour but as a breakwater or large groyne. The continued accumulation of shingle on the western side of the harbour arm caused a significant decline in the fishermen's stade, forcing some boats to relocate to Rye. In the late 1960s, the Rock-a-Nore groyne was made higher and longer. Although this prevented further erosion of the fishermen's stade, it also increased the width of the beach, reducing the benefits provided by the harbour arm. By the mid-1970s, the harbour arm had started to break apart. Professional advice was sought from Halcrow, and the collapsed centre was reinforced with 7-tonne concrete blocks called stabits, which are still in place today. Hastings has had a long-standing relationship with the sea, although there is no evidence to suggest its connection dates back to the Roman era. However, during the Saxon period, the town firmly established itself and became one of the most important port towns in the country due to its membership in the Cinque Ports. While the town flourished, its fishing industry also thrived, playing a vital role in the local economy. Over time, the loss of the harbour and various challenges, both natural and man-made, have posed significant obstacles to the fishing fleet. Competition from other fishing fleets, over-fishing, and quota limits imposed by the EU have all contributed to the decline of the fleet. Despite these challenges, the fishing fleet in Hastings has endured, making it Europe's largest beach-launched fleet and an integral part of the town's heritage. The efforts to construct a functional harbour over the centuries may have been marred by bungled attempts, financial constraints, and natural forces, but the fishing industry and its historical significance continue to be a vital part of Hastings today. Martin Dutton's Hastings Beach "The shingle beach at Hastings, known as The Stade, is the home of the largest beach-launched fishing fleet in Britain. I was first introduced to the beach in 2015 and the whole place appealed to me as a subject to paint. The fishing boats hauled up onto the shingle beach, the constant blustery winds from across the sea, the screeching, soaring seagulls, the activities of the fishermen and the brick-a-brac of discarded nets, pots, boats, tractors and machine parts littered around the beach are all fascinating things crying out for painterly interpretation." "I started my new beach theme with numerous objective in situ studies in oil or mixed media- my usual approach when starting a new subject to enable me to get to know what I am looking at." "There is a single purpose and power that dominates the beach- the need to continue and maintain a commercially viable fishing industry, an industry that dates back to Medieval times. This struggle to wrestle a living from the powerful sea has, in essence, remained unchanged since the beginning of human civilisation. When tramping, with effort, across the shingle observing the massive fishing boats or sheltering on the leeward side of their hulls to draw and paint, one gets a sense of the dominant physical nature of the beach and its atavistic reverberations. In my paintings I attempt to find a painterly equivalent to these subjective responses." You can discover Martin's work at Artizan Collective Gallery until June 25th. For more information, visit www.art-hub.co.uk/ex/md23 #MartinDutton #DevonArt #DevonArtist #AbstractArt #CelebrationOfTorquay #HastingsBeach #md23

Birdwatching, also known as birding, is a popular and rewarding pastime enjoyed by millions of people around the world. Whether you are an experienced birder or a curious beginner, birdwatching offers a unique opportunity to connect with nature and appreciate the beauty of our feathered friends. With just a pair of binoculars, a field guide, and a keen eye, you can explore the great outdoors and observe a diverse array of bird species in their natural habitats. The origins of birdwatching can be traced back to the late 18th and early 19th centuries, when naturalists and scientists began to study birds in earnest. One of the earliest pioneers of birdwatching was John James Audubon, who spent years documenting the birds of North America in his famous book, "The Birds of America." Audubon's work helped to popularize birdwatching as a hobby and inspired many others to take up the pursuit. In the late 19th and early 20th centuries, birdwatching became increasingly popular among amateur enthusiasts, and birdwatching clubs and societies began to form. One of the most notable early birdwatching societies was the British Trust for Ornithology, founded in 1932, which helped to coordinate and organize birdwatching activities throughout the UK. As birdwatching grew in popularity, so too did the development of new tools and techniques, such as the use of binoculars, spotting scopes, and bird calls. Today, birdwatching continues to be a beloved pastime enjoyed by millions of people all over the world. With advances in technology and the widespread availability of field guides and other resources, birdwatching has become more accessible than ever before. Contemporary birdwatching has evolved into a diverse and dynamic pursuit, with a wide range of motivations and audiences. For some, birdwatching is a way to connect with nature and escape the stresses of daily life. For others, it is a form of scientific observation and a way to participate in citizen science projects, helping to track the movements and populations of different bird species. But for many, birdwatching is simply a fun and rewarding hobby, offering opportunities for travel, socializing, and personal growth. One notable change in modern birdwatching is the increased emphasis on conservation and environmental awareness. With many bird species facing threats such as habitat loss, climate change, and pollution, birdwatchers are increasingly using their hobby as a platform for activism and advocacy. Through activities such as citizen science projects and habitat restoration efforts, birdwatchers are playing an important role in protecting and preserving the natural world. Another change in contemporary birdwatching is the growing diversity of participants. While birdwatching was once seen as a niche hobby for older, mostly white, middle-class participants, today's birdwatching community is more inclusive and welcoming than ever before. Efforts to make birdwatching more accessible and welcoming have included initiatives such as birding festivals that celebrate different cultures, the creation of mentorship programs for underrepresented groups, and the establishment of birdwatching clubs and organizations that prioritize diversity and inclusion. Some notable initiatives include: the Black Birders Week movement, which began in 2020 in response to incidents of racism in the birdwatching community; the Audubon Society's Women in Conservation program, which provides mentorship, networking, and leadership development opportunities for women in the conservation field; and Birdability, a non-profit organization that advocates for greater accessibility and inclusivity in birdwatching for people with disabilities. As birdwatching becomes more inclusive, it not only benefits individuals but also promotes greater awareness and appreciation for the natural world among diverse communities. Technological advances have also had a significant impact on modern birdwatching. Smartphone apps and social media platforms have made it easier than ever to share information and connect with other birdwatchers around the world. Digital cameras and audio recorders have revolutionized the way birders document and study bird behaviour, while GPS technology and online mapping tools have made it easier to track bird movements and plan birdwatching trips. While the basic principles of birdwatching remain the same, contemporary birdwatching has evolved in many exciting and meaningful ways. With a growing emphasis on conservation, a more diverse community of participants, and new technological tools and resources, birdwatching continues to be a rich and rewarding pastime for people of all ages and backgrounds. Birdwatching has long been a source of inspiration for artists across different mediums, including painting, sculpture, and photography. Many artists have been drawn to the beauty and diversity of bird species, as well as the complex behaviours and interactions that they exhibit in the wild. One example of the crossover between birdwatching and visual arts is the work of John James Audubon, a renowned 19th-century naturalist and artist who is best known for his highly detailed and realistic paintings of birds. Audubon's work not only documented the appearance of different bird species, but also captured their unique personalities and behaviours in a way that had never been seen before. His paintings are still celebrated today for their scientific accuracy and artistic beauty. In more recent years, birdwatching has also inspired contemporary artists to create works that explore the connections between humans and nature, as well as the impacts of environmental change. For example, artist Brandon Ballengée has created sculptures and installations that incorporate found objects and specimens, such as discarded plastic and taxidermied birds, to comment on issues such as pollution and habitat loss. Similarly, photographer Andrew Zuckerman's book "Bird" features stunning portraits of birds against stark white backgrounds, highlighting the intricate details and textures of each species. Chloë Morter is a contemporary artist who has gained recognition for her intricate and detailed embroidery pieces that feature birds and other wildlife. As a birdwatcher herself, Morter draws inspiration from the unique personalities and behaviors of different bird species, which she translates into her stitched designs. Her works often feature small, delicate details such as feathers, eyes, and beaks, which require a great deal of skill and patience to create. Morter's embroidery pieces are not only beautiful works of art, but also serve as a reminder of the importance of conservation and protecting the natural world. She has stated that her goal is to create pieces that encourage people to take notice of the birds and other wildlife around them, and to appreciate their unique beauty and value. Through her art, Morter is helping to bridge the gap between birdwatching and visual arts, and to inspire others to appreciate and protect the natural world in their own way. You can discover Chloë's work at Artizan Gallery in their May 2023 "Natural World" showcase alongside works of landscape artist Kerry Johnstone. For more information, visit www.art-hub.co.uk/ex/cm23 #ChloëMorter #NaturalWorld #Embroidery #cm23 #kj23t

One of the most significant environmental issues of our time is climate change, which has become a focal point for many artists. Olafur Eliasson, a Danish-Icelandic artist, is one such figure whose installations often explore the relationship between humans and nature. His 2018 exhibition, "Ice Watch," involved placing twelve large ice blocks in public spaces around London, where they slowly melted over several days. The installation aimed to draw attention to the rapid melting of the polar ice caps and the impact of global warming on the planet. Maya Lin, a Chinese-American artist, has also explored environmental issues in her work. Her sculpture and memorial pieces have contributed significantly to the discourse on biodiversity and the impact of human activity on the environment. Her piece, "What is Missing?" is a multi-sensory installation that includes a website, a book, and several installations around the world. The work aims to highlight the loss of biodiversity due to human activity and to inspire action to protect the environment. These artists and many others are using their creative skills to generate conversations about environmental issues and inspire action. Through their works, they challenge viewers to confront the reality of our changing planet and take responsibility for addressing environmental challenges. Whilst installations and multimedia works such as these are one side of how artists are engaging with issues around climate change, even more traditional practices can provide starting points for this important social conversation and landscape artist Kerry Johnstone is doing just this. In her current exhibition, Johnstone's focus is on "Trees, Rocks and Moor", which reflect her appreciation for these natural resources. Having lived in Malawi, Johnstone has witnessed the devastation that comes with high population, reliance on wood for fuel, and unreliable rainfall patterns. Her work celebrates trees, particularly those that dominate the landscape and can be seen from far away, such as the ancient, twisted oaks of Wistman's Wood. Rocks, with their shapes and interesting plant life, continue to fascinate her. And finally, the Moor, particularly Dartmoor, provides an incredible opportunity for people to reconnect with nature. It's a haven for wildlife and probably the closest we can get to "wilderness" in this part of the world. Through her art, Johnstone seeks to highlight the importance of preserving these natural resources for future generations. Art has the potential to inspire and motivate people in ways that words alone cannot. By utilizing their creativity to draw attention to environmental issues, contemporary artists are making an essential contribution to ongoing dialogues about the planet's future. As we confront the challenges of environmental degradation, we can look to the works of artists such as Kerry, for inspiring action to a more sustainable future. You can discover Kerry's work at Artizan Gallery in their May 2023 "Natural World" showcase alongside works of embroidery artist Chloë Morter. For more information, visit www.art-hub.co.uk/ex/kj23 #KerryJohnstone #NaturalWorld #LandscapeArt #cm23 #kj23

Dartmoor's rugged, windswept landscape has captured the imaginations of artists and poets for centuries. But it wasn't until the 19th century that the area began to attract a significant number of tourists and artists. The Dartmoor landscape first began to appear in works of art in the late 18th century, when landscape painting was gaining popularity in England. Artists such as Francis Towne and John White Abbott painted scenes of Dartmoor, often using a romantic and idealized approach to depict the landscape. However, it wasn't until the mid-19th century that Dartmoor became a popular destination for artists. One of the key factors that contributed to the rise of Dartmoor as a tourist and artistic destination was the construction of the South Devon Railway in 1846. The railway made it easier for people to visit the area, and as a result, Dartmoor began to attract more visitors. Another factor that contributed to the popularity of Dartmoor was the growing interest in nature and the outdoors during the Victorian era. The Romantic movement, which celebrated the beauty of nature, was in full swing, and many people began to seek out natural landscapes for recreation and inspiration. Dartmoor's rugged terrain, wide open spaces, and wild beauty made it an ideal destination for those seeking a connection with nature. Many artists were drawn to Dartmoor during this period, including members of the Royal Academy. Artists such as John Brett, William Henry Purchase, and William Crossing created works that captured the beauty and grandeur of the landscape. These artists often used a realist approach, depicting the landscape in all its wild and untamed glory. One artist who has been inspired by Dartmoor's landscape in recent years is Kerry Johnstone. Johnstone's work celebrates the natural beauty of Dartmoor, with a particular focus on trees, rocks, and moorland. Her paintings capture the essence of the landscape, with its rolling hills, dramatic tors, and wide-open spaces. Johnstone's work is influenced by her deep love of nature and her concern for the environment. She has lived in Malawi, where she witnessed the devastating effects of deforestation, and her work is a reflection of her commitment to preserving and celebrating the natural world. Through her paintings, Johnstone invites us to connect with the natural world and to appreciate the beauty and complexity of the landscape. Her work is a testament to the enduring appeal of Dartmoor, and to the power of nature to inspire and captivate us. The visual arts have long been recognized as a powerful means of communication capable of transcending language and cultural barriers. Contemporary artists have increasingly focused on using their creative talents to initiate and engage in dialogues around pressing social and environmental issues. In particular, the issue of environmental degradation has emerged as a pressing concern in contemporary art. You can discover Kerry's work at Artizan Gallery in their May 2023 "Natural World" showcase alongside works of embroidery artist Chloë Morter. For more information, visit www.art-hub.co.uk/ex/kj23 #KerryJohnstone #NaturalWorld #LandscapeArt #cm23 #kj23

Landscape painting is an ancient and venerable art form that has been practiced for centuries across cultures and civilizations. The art of painting landscapes is both a creative and technical practice that requires a mastery of composition, colour, and form. Over time, the techniques and styles of landscape painting have evolved, with contemporary artists like Kerry Johnstone exploring new contexts through this longstanding medium. A (VERY) Short History of Landscape Painting The tradition of landscape painting can be traced back to ancient China, where landscape art was considered the highest form of painting. The Chinese believed that landscapes held spiritual and moral significance, and that painting them was a way to connect with the divine. Chinese landscape painting typically featured sweeping views of mountains, rivers, and valleys, often with tiny figures or buildings set against the vast expanse of nature. In Europe, landscape painting developed in the Middle Ages, primarily as a form of religious art. Artists used landscapes to create backgrounds for religious scenes, and as a way to represent the natural world as a reflection of the divine. During the Renaissance, artists began to focus more on capturing the beauty of the natural world for its own sake, and landscape painting became a popular genre in its own right. In the 19th century, landscape painting underwent a significant transformation with the development of the Romantic movement. Romantic painters sought to capture the sublime beauty of nature, often depicting dramatic, awe-inspiring scenes like stormy seas or craggy mountains. The Impressionist movement that followed focused more on the play of light and colour in the natural world, capturing the fleeting beauty of everyday scenes like sunsets or gardens. Kerry Johnstone Today, landscape painting continues to be a popular and respected genre, with artists using a wide range of styles and techniques to depict the natural world. Contemporary artist Kerry Johnstone, for example, focuses on the beauty of trees, rocks, and moors, using vibrant colours and intricate details to capture the essence of nature. Johnstone's work reflects her appreciation for the natural world, as well as her concern for environmental issues like deforestation and climate change. Her paintings celebrate trees, from the unglamorous ones hidden in hedgerows to the majestic trees that dominate the landscape. She also portrays the beauty and complexity of rocks, with their varied shapes, plant life, and the way trees and their roots grow in and around them. Johnstone's paintings of moors depict the rich colours and textures of the natural landscape, capturing the essence of this wilderness area. Through her work, Johnstone demonstrates the ongoing evolution of landscape painting, showcasing how contemporary artists are using the medium to address contemporary issues. By celebrating the beauty of nature and highlighting the fragility of the environment, Kerry's paintings remind us of the importance of preserving and protecting the natural world for future generations. You can discover Kerry's work at Artizan Gallery in their May 2023 "Natural World" showcase alongside works of embroidery artist Chloë Morter. For more information, visit www.art-hub.co.uk/ex/kj23 #KerryJohnstone #NaturalWorld #LandscapeArt #cm23 #kj23

Embroidery is a time-honoured art form that has been practiced across cultures for centuries, characterized by the use of needle and thread to embellish fabric surfaces with decorative designs. Although traditional techniques continue to be celebrated and practiced, contemporary embroidery artists have developed new and innovative ways of working that are redefining the boundaries of the craft. One notable contemporary artist is Chloë Morter, whose work often features bird imagery and reflects her love of the natural world. Morter employs both traditional and modern techniques in her practice, using photos and sketches as the basis for her designs, which she then breaks down into minute, intricate elements. These designs are then transferred onto an embroidery machine, which she uses to stitch the design, followed by adding depth and detail with free-motion stitching on a sewing machine. Morter's pieces are known for their multiple layers of thread, which create a tactile, three-dimensional texture and a sheen that is almost luminescent. In addition to her use of embroidery techniques, Morter incorporates collage elements into her pieces, which she builds up with fabrics, coloured silks, and lace to create a background inspired by nature. These elements are then integrated with her stitching, which blends different textures, patterns, and colours together, creating an intricate and harmonious composition. Morter's work also occasionally includes printed or stitched words and phrases from poets and nature writers, lending a literary dimension to her art. Contemporary Embroidery Artists Morter's work is emblematic of the broader trend of contemporary embroidery artists, who are exploring the limits of the medium and its potential for innovation. Other artists, such as Cayce Zavaglia, Danielle Clough, Hiroko Kubota, and Sarah K. Benning, are also creating work that showcases the diversity and richness of contemporary embroidery. Zavaglia's work is characterized by her hyper-realistic portraits, which are rendered with thousands of stitches in thread that mimic the look of brushstrokes. Clough, on the other hand, creates vibrant and colourful pieces that explore the playful possibilities of embroidery. Kubota creates delicate and intricate works inspired by traditional Japanese art, while Benning combines traditional techniques with a contemporary sensibility to create botanical and landscape scenes that are whimsical and evocative. Technology Alongside the work of contemporary artists, advancements in technology have contributed significantly to the evolution of embroidery. Computerized embroidery machines, for instance, allow for the creation of highly detailed and complex designs with greater speed and efficiency than ever before. Meanwhile, new materials like conductive thread and 3D-printed fabrics are being used to create pieces that blur the lines between embroidery and other media, such as electronics or sculpture. All of this means that today, embroidery continues to be a rich and diverse art form that offers endless possibilities for artistic expression. Contemporary embroidery artists, like Chloë Morter, are combining traditional and modern techniques to create new, innovative, and highly expressive works that push the boundaries of the medium. Through their skill and creativity, these artists are keeping alive the tradition of embroidery while simultaneously reimagining its potential for the future. You can discover Chloë's work at Artizan Gallery in their May 2023 "Natural World" showcase alongside works of landscape artist Kerry Johnstone. For more information, visit www.art-hub.co.uk/ex/cm23 #ChloëMorter #NaturalWorld #Embroidery #cm23 #kj23

Embroidery is a traditional craft that has been practiced for centuries all over the world, with the purpose of embellishing fabrics through needle and thread. Despite its functional origins, embroidery has become a popular form of artistic expression, thanks to the intricate and beautiful designs it can create. Embroidery has played an important role in many cultures throughout history, serving as a sign of status, religious piety, and artistic skill. In medieval Europe, embroidery was a popular pastime among the upper classes, who used it to adorn their clothing and household items. The Bayeux Tapestry, an embroidery that depicts the Norman Conquest of England, is a testament to the level of skill and artistry that was achieved during this period. Religious art, particularly in the Christian tradition, also made great use of embroidery. Opus Anglicanum, a type of embroidery that originated in England in the 12th century, was famous for its intricacy and beauty and was used to decorate religious vestments and altar cloths. In the Islamic world, embroidery was highly prized and was used to decorate a wide range of items, including clothing, cushions, and wall hangings. The use of gold and silver thread was particularly popular in Islamic embroidery, and many examples of this work still exist today. In the 19th and 20th centuries, embroidery experienced a resurgence in popularity, particularly in the form of samplers and other decorative household items. Women and girls often spent hours creating these pieces, which were seen as a sign of their skill and virtue. Chloë Morter, Contemporary Embroidery Artist Today, embroidery continues to be a popular craft, with a wide range of techniques and materials available to artists and hobbyists. Contemporary embroidery artists like Chloë Morter have pushed the boundaries of the craft, creating stunning works of art that incorporate a wide range of techniques and materials. Morter's work is inspired by her love of birdwatching and nature, and she uses photos and sketches to create detailed depictions of birds in stitch. Her designs are broken down into small, detailed elements and using embroidery and free-motion stitching, she creates depth and detail. Morter incorporates collage into her pieces, using old fabrics, silks, and lace to create a decorative and idealized background that blends together with the bird to create a beautiful, timeless piece. Her work demonstrates the ongoing evolution of embroidery, showcasing how contemporary artists are using the craft to create new and innovative works of art while still honoring the history and tradition of the craft. She pushes the limits of the traditional techniques and materials used in embroidery, incorporating new elements and technology to create innovative pieces. You can discover Chloë's work at Artizan Gallery in their May 2023 "Natural World" showcase alongside works of landscape artist Kerry Johnstone. For more information, visit www.art-hub.co.uk/ex/cm23 #ChloëMorter #NaturalWorld #Embroidery #cm23 #kj23